Rock And Roll Over: Music, Legacy And Mortality

For Prince, David Bowie and Lemmy Kilmister's boomer and Gen X fans, an artist's legacy and musical footprint live on long after death

Roy Trakin

GRAMMYs

Aug 11, 2016 - 5:12 pm

GRAMMY.com

The last 15 months have been an unfortunate harbinger of what to expect in music in the next decade or so, starting with the death of King of the Blues B.B. King, then heavy metal god Lemmy Kilmister, R&B diva Natalie Cole, country/rock pioneer Glenn Frey, soul legend Maurice White, country icon Merle Haggard, and a 57-year-old Prince, among others. As Pete Townshend, who once declared, "Hope I die before I get old," might put it, "Who's next?"

Perhaps the first shocking "rock star" fatality was that of country pioneer Hank Williams, who suffered a heart attack in the back seat of his Cadillac at age 29 in the early hours of Jan. 1, 1953, while being driven to his next gig. The news sent sales of Williams' final single, the ironically titled "I'll Never Get Out Of This World Alive," to No. 1 on Billboard's Country Singles chart less than a week later.

Some 63 years later, on Jan. 10, 2016, David Bowie died after a lengthy bout with cancer that had been kept from all but his closest family members and friends, just two days after the release of his new album, Blackstar. On Jan. 7, a mere 24 hours before the album's release, Bowie debuted the appearance of the eerie, fatalistic music video for "Lazarus," which made clear the chameleon performer was readying to shuffle off not just his latest guise, but the mortal coil itself. Like Williams, Bowie's death spurred his own first-ever chart-topping album, and unleashed a torrent of tributes and memorials to the fallen glam icon.

Similarly, Lou Reed (on his 1992 meditation on death, Magic And Loss), Warren Zevon (with his final album, The Wind, which contained a version of Bob Dylan's "Knockin' On Heaven's Door") and Johnny Cash (who covered standards such as "Ain't No Grave" and "Can't Help But Wonder Where I'm Bound" on his posthumous Rick Rubin-produced American VI: Ain't No Grave) all released albums in their later years that pondered imminent mortality. Listening to these songs, knowing their creators are no longer with us, gives the odd sensation of hearing them speak from beyond the grave — a final parting gift, keeping their spirits, if not their corporeal beings, alive for subsequent generations.

With the specter of this fall's Desert Trip — dubbed "Oldchella" by cynics — the true last waltz for boomers has resulted in reported $14 million paydays for Dylan, Paul McCartney, the Rolling Stones, Neil Young, the Who, and Roger Waters, with a pair of sold-out three-day October weekends in Indio, Calif., offering a pilgrimage to Mecca and perhaps a final farewell to rock's halcyon heyday.

There are many factors at work that impact this seeming parade of passing icons — from the inevitable aging of the audience that grew up on rock and roll and its media-spawned personalities to today's proliferation of internet coverage spreading the word — but the sobering bottom line is the next decade or so will exhibit more of the same, both expected and surprising.

Meanwhile, for the massive recording and live concert industries, which have been built on the back of these all-too-mortal stars and the legacies (not to mention the music) they leave behind, is there life after death?

Jeff Jampol's JAM Inc. has forged a successful business from handling the estates of deceased artists, including pioneers such as Muddy Waters and Otis Redding, '60s stalwarts the Doors and Janis Joplin, reggae star Peter Tosh and funkmeister Rick James, all the way to grunge-punk icons Kurt Cobain and the Ramones. In Jampol's world, brands will always outlive bands, just as John Branca and John McClain have managed to turn the Michael Jackson estate into a lucrative property by maximizing assets, including selling its share of Sony/ATV Music Publishing for $750 million earlier this year, with estimates of its post-death earnings at $2 billion.

For Jampol, preserving these legacies for future generations is his primary goal. "Who knew rock and roll would even last long enough to create estates?" he asks. "The younger audience is who we're after, and not just their ears, but their eyes, hearts, minds, and souls. That's why I want to expose my clients' art and brand to them in a way that's authentic and credible."

Similarly, reacting to the void in the concert business created by the potential death of some of its most lucrative attractions, industry veteran Abbey Konowitch, who has worked his marketing magic at Arista Records, MTV, Maverick Records, and Disney, has developed, with GRAMMY-winning producer Rob Cavallo, among others, a concept dubbed RockmaniaLive! The live event offers state-of-the-art theatrical recreations of classic rock albums by a band with a symphony orchestra, resulting in a combination of Cirque du Soleil, the Boston Pops and the Fab Faux.

"Albums like Houses Of The Holy, TheDark Side Of The Moon and Goodbye Yellow Brick Road have become global cultural brands, have built the largest touring business in history, have generated billions of dollars in merchandise, ticket and album sales," says Konowitch. "[RockmaniaLive!] is an opportunity for classic rock fans to continue to experience the 'soundtrack of their lives' and share it with their whole family in a unique, multimedia way."

But not all legacy artists are whistling past their graves, nor are they mourning the past. In his March 2014 article "Stay Forever Young: Deconstructing The Rock Star Myth," Psychology Today's Dr. Michael Friedman wrote: "Far from life being over at 30, aging rockers are having an absolute blast into their 40s, 50s, 60s, and even 70s, finding ongoing success in their music."

Some artists, such as 74-year-old Paul Simon, are arguably producing their best work at this advanced age. The GRAMMY winner's new album, Stranger To Stranger, has more than its fair share of meditations on mortality: "The fact is most obits are mixed reviews," he sings in "The Werewolf," a song about a mythical angel of death. ("Life is a lottery/A lot of people lose.")

The fact is old age can also bring hard-earned wisdom — not to mention Simon's way of incorporating elements of Brazilian, Afro-pop, folk, reggae, and experimental percussive and rhythmic elements from his entire career to bear in his latest.

"I do think about retirement," he confessed to Rolling Stone. "But I just don't know. Philip Glass is one of my role models and he just keeps going. He said to me, 'If you don't do it, who will write a Paul Simon song?'"

If the death of legacy music icons is cause to ponder our own short time on earth, the acknowledgement that rock and roll will never die is also, somehow, a comfort.

"These guys were my heroes," concludes Jampol, who recalled his own spiritual awakening seeing Bowie perform at the Santa Monica Civic Auditorium in 1972 as a "short, nonathletic Jewish weirdo."

"When he sang, 'You're not alone,' in 'Rock 'N' Roll Suicide,' I immediately felt part of this community of outsiders. I cried for three days when he died," says Jampol.

"My goal was to create something that helps preserve and make contemporary this art, these messages, that connection. Individuals may come and go, but the legacy, the passion, lives on."

(Roy Trakin is currently a senior news editor at All Access, a past contributor to a number of legendary rock magazines [remember those?] and a die-hard Cantonese Chinese food fanatic [love crispy noodles, duck sauce and hot mustard].)

58th GRAMMYs Mirror Our Times

In an era when much of the prevailing cultural dialogue revolves around race relations and empowerment, the big winners at the 58th GRAMMY Awards reflected that zeitgeist.

Compton, Calif., rapper Kendrick Lamar went into the 58th GRAMMY Awards as the most nominated artist (11 nods) since Michael Jackson and Babyface each scored 12 for 1983 and 1996, respectively. He took five GRAMMYs, including Best Rap Album for To Pimp A Butterfly, and Best Rap Performance and Best Rap Song for "Alright."

His performance of "The Blacker The Berry" and "Alright," songs that have become unofficial soundtracks for the Black Lives Matter movement, infused the GRAMMYs with the kind of social currency at which it excels, whether it's celebrating marriage rights or honoring musical icons such as Whitney Houston.

Alabama Shakes, perhaps fittingly a multiracial band with a multiracial frontwoman, won three awards, Best Rock Performance, Best Rock Song and Best Alternative Music Album, all based around their acclaimed album Sound & Color.

Taylor Swift won Album Of The Year for 1989 among her three awards. Pointing out that she was the first woman to win that award twice, Swift was passionate about giving due credit to the contributions of women.

"I want to say to all the young women out there," Swift said, "there are going to be people along the way who will try to undercut your success, or take credit for your accomplishments, or your fame. But if you just focus on the work and you don't let those people sidetrack you, someday when you get where you're going, you will look around and you will know it was you and the people who love you that put you there. And that will be the greatest feeling in the world."

Rising up, to paraphrase GRAMMY nominee and performer Andra Day, was the theme of night. In addition to Lamar's wins and triumphant performance, there were other noteworthy moments.

Common and John Legend's "Glory," the pair's defiant song from the film about the '60s Montgomery voting rights marches, Selma, won for Best Song Written For Visual Media. West African singer Angélique Kidjo admonished the audience to "say no to hate and violence through music" in accepting her Best World Music Album GRAMMY for Sings during the GRAMMY Awards Premiere Ceremony. Lalah Hathaway won in the Best Traditional R&B Performance category for "Little Ghetto Boy," a song about the dire consequences of growing up in inner city poverty that was originally recorded by her father, Donny Hathaway.

Mexican drummer/composer Antonio Sanchez, who won Best Score Soundtrack For Visual Media for Birdman, thanked GRAMMY voters specifically because he had been "eliminated by another awards show that starts with an 'O' and ends with 'scars.'" And songwriter Kendra Foster literally raised a fist and proclaimed "we're trying to rise up" when accepting the Best R&B Song award for her and D'Angelo's "Really Love."

It was also a night of official goodbyes to musical giants, some of whom died within weeks of the GRAMMY telecast.

Lady Gaga's tribute to David Bowie, aided by Intel technology, was an electrifying appreciation of one of the most influential artists of our time. Bowie, who died Jan. 10, received a Lifetime Achievement Award from The Recording Academy in 2006, and an appropriate celebration on tonight's show with a Gaga medley wrapped up by a triumphant version of "Heroes."

The band that perfected '70s California rock came together to salute its fallen founding member, Glenn Frey, who died Jan. 18. The Eagles strummed through their first hit record, the classic "Take It Easy," teaming with the song's co-writer Jackson Browne (who penned the tune with Frey in the early '70s when they lived in the same L.A. apartment building). The ode to letting troubles run off your shoulders and grabbing life while you can was a fitting tribute to a singer, guitarist and man who did just that.

Things got revved up a few decibels when the Hollywood Vampires (Alice Cooper, Johnny Depp and Joe Perry) lit the funeral pyre for hard rock's No. 1 anarchist Lemmy Kilmister with a short blast of Motörhead's "Ace Of Spades."

At the other end of the genre and attitude spectrum, Earth, Wind & Fire's deeply optimistic pan-spiritual leader Maurice White, who died Feb. 4, was feted by Stevie Wonder, joined by vocal group Pentatonix, who performed an a cappella version of the band's classic "That's The Way Of The World."

Finally, Chris Stapleton, Gary Clark Jr. and Bonnie Raitt paid tribute to the late B.B. King, who died May 14, 2015. The three artists reflected different generations and genres, but demonstrated that roots music is a single language often spoken with six strings, and that all three owe a debt to one of the most noteworthy bluesmen of all time.

Between honoring our musical legacy and recognizing music's power to reflect and impact our cultural legacy, fans truly had a chance to witness greatness on this year's GRAMMYs.

2017 GRAMMY Hall Of Fame: David Bowie, Billie Holiday, N.W.A

Class of 2017 also includes selections by the Beach Boys, Deep Purple, Merle Haggard, Nirvana, Prince, Bonnie Raitt, R.E.M., and Sly & The Family Stone

GRAMMYs

May 15, 2017 - 2:36 am

GRAMMY.com

In keeping with its ongoing dedication to preserving and celebrating timeless recordings, The Recording Academy has announced the 25 newest additions to its GRAMMY Hall Of Fame. This year's collection acknowledges a diverse range of both singles and album recordings at least 25 years old that exhibit qualitative or historical significance. Each year recordings are reviewed by a special member committee comprised of eminent and knowledgeable professionals from all branches of the recording arts, with final approval by The Recording Academy's National Board of Trustees. The Hall, now in its 44th year, currently totals 1,038 recordings.

"The GRAMMY Hall Of Fame represents all genres of music, acknowledging the diversity of musical expression for which The Academy has become renowned," said Neil Portnow, President/CEO of The Recording Academy. "Memorable and inspiring, these recordings are proudly added to our growing catalog and are an integral part of our musical, social and cultural history."

The 59th Annual GRAMMY Awards will take place on Sunday, Feb. 12, 2017, at Staples Center in Los Angeles and will be broadcast live on CBS from 8–11:30 p.m. (ET/PT). For updates and breaking news, visit The Recording Academy's social networks on Twitter and Facebook.

Celebrate Black History Month with Beyoncé, Ray Charles

In recognition of Black History Month, a look at a group of inspiring African-American artists who have mined GRAMMY gold

GRAMMYs

May 15, 2017 - 2:36 am

GRAMMY.com

Black History Month is celebrated throughout the month of February in the United States in a collective effort to promote, preserve and research black history and culture year-round.

Of course, music is and has always been an indelible part of American culture. And whether it's jazz, blues, R&B or hip-hop, African-American musicians, singers and producers have made immense contributions to our nation's musical history.

To help celebrate Black History Month, we take a look back at memorable albums and snapshots from the careers of a select group of talented African-American artists who have not only won plenty of GRAMMYs, but have enriched our culture and inspired legions of listeners along the way.

Quincy Jones, Back On The Block (iTunes>)GRAMMY wins: 27Memorable GRAMMY gold: "Q" holds the record for most GRAMMY nominations with 79 and in 1990 the esteemed producer picked up six GRAMMYs, including Producer Of The Year, Non-Classical and Album Of The Year for Back On The Block.

Stevie Wonder, Songs In The Key Of Life (iTunes>)GRAMMY wins: 25Memorable GRAMMY gold: Fresh off winning five GRAMMY Awards in both 1973 and 1974, the legendary Wonder rolled another five in 1976, including wins for Best Producer Of The Year and Album Of The Year for Songs In The Key Of Life.

Aretha Franklin, I Never Loved A Man The Way I Love You (iTunes>)GRAMMY wins: 18Memorable GRAMMY gold: The Queen of Soul commanded respect from her peers in picking up a pair of GRAMMYs in 1967 for Best Rhythm & Blues Recording and Best Rhythm & Blues Solo Vocal Performance, Female for, you guessed it, "Respect." The Queen was honored at the 53rd Annual GRAMMY Awards in 2011 with a special tribute performance by Yolanda Adams, Christina Aguilera, Jennifer Hudson, Martina McBride, and Florence Welch.

Kanye West, Graduation(iTunes>)GRAMMY wins: 18Memorable GRAMMY gold: The enigmatic rapper graduated in 2007 with four GRAMMYs for Best Rap Song, Best Rap Album, Best Rap Performance By A Duo Or Group, and Best Rap Solo Performance. West won another four GRAMMYs this year, including Best Rap Song for "All Of The Lights" with Jeff Bhasker, Fergie, Malik Jones, and Warren Trotter, and Best Rap Album for My Beautiful Dark Twisted Fantasy.

Ray Charles, Genius Loves Company (iTunes>)GRAMMY wins: 17 Memorable GRAMMY gold: Following his passing in 2004, Charles' Genius Loves Company album spawned five posthumous statues at the 47th Annual GRAMMY Awards, including Album Of The Year and Record Of The Year. His album Genius + Soul = Jazz earned an induction into the GRAMMY Hall Of Fame in 2011.

Beyoncé, I Am…Sasha Fierce (iTunes>)GRAMMY wins: 16Memorable GRAMMY gold: In 2010 the R&B/pop princess won a six-pack of GRAMMYs at the 52nd Annual GRAMMY Awards, including Song Of The Year for "Single Ladies (Put A Ring On It)." This year, aside from giving birth to her daughter, Blue Ivy Carter, Beyoncé garnered nominations for Best Rap/Sung Collaboration for "Party" with André 3000 and Best Long Form Music Video for I Am...World Tour.

B.B. King, Completely Well (iTunes>)GRAMMY wins: 15Memorable GRAMMY gold: King was crowned with his first GRAMMY in 1970 for Best R&B Vocal Performance, Male for "The Thrill Is Gone," which hit No. 15 on the Billboard Hot 100. King won GRAMMYs in the '80s, '90s and '00s, with his most recent win coming in 2008 for Best Traditional Blues Album for One Kind Favor.

Jay-Z, The Blueprint 3(iTunes>)GRAMMY wins: 14Memorable GRAMMY gold: Following the three GRAMMYs he won last year, Jay-Z picked up three GRAMMYs again at the 53rd Annual GRAMMY Awards last year for Best Rap Performance By A Duo Or Group for "On To The Next One" with Swizz Beatz and Best Rap/Sung Collaboration and Best Rap Song for "Empire State Of Mind" with Alicia Keys. This year he took home the Best Rap Performance award for "Otis" with Kanye West.

Alicia Keys, Songs In A Minor (iTunes>)GRAMMY wins: 14Memorable GRAMMY gold: Proving her worth right out of the gate, in 2001 Keys released her debut album, Songs In AMinor,and won five GRAMMYs, including Song Of The Year for "Fallin'" and Best New Artist. She picked up two awards with Jay-Z for Best Rap/Sung Collaboration and Best Rap Song for "Empire State Of Mind" at the 53rd Annual GRAMMY Awards in 2011.

Michael Jackson, Thriller(iTunes>)GRAMMY wins: 13Memorable GRAMMY gold: Riding the wave of Thriller, the King of Pop won an unprecedented eight GRAMMY Awards in 1983, including Album Of The Year and Record Of The Year for "Beat It." Jackson's This Is It garnered a nod for Best Male Pop Vocal Performance at the 53rd Annual GRAMMY Awards.

Duke Ellington, Anatomy Of A Murder (iTunes>)GRAMMY wins: 11Memorable GRAMMY gold: The eminent big-band leader and composer picked up three GRAMMYs at the 2nd Annual GRAMMY Awards in 1959 for Anatomy Of A Murder, including Best Performance By A Dance Band.

Natalie Cole, Unforgettable With Love (iTunes>)GRAMMY wins: 9Memorable GRAMMY gold: The smooth R&B songstress had an unforgettable year in 1991, picking up a trio of GRAMMYs, including Record Of The Year for "Unforgettable."

Miles Davis, Aura(iTunes>)GRAMMY wins: 8Memorable GRAMMY gold: One of jazz's most noteworthy trumpet players picked up two GRAMMY Awards in 1989, including Best Jazz Instrumental Performance, Big Band for his colorful opus Aura.

Tina Turner, Private Dancer (iTunes>)GRAMMY wins: 8Memorable GRAMMY gold: Turner landed three GRAMMY Awards in 1984, with her No. 1 hit "What's Love Got To Do With It" winning for Best Pop Vocal Performance, Female and Record Of The Year. This year the anthem was inducted into the GRAMMY Hall Of Fame.

Usher, Raymond V Raymond (iTunes>)GRAMMY wins: 7Memorable GRAMMY gold: Usher picked up two trophies at the 53rd Annual GRAMMY Awards, including Best Male R&B Vocal Performance for "There Goes My Baby." His first two GRAMMYs came in 2001 and 2002 for "U Remind Me" and "U Don't Have To Call," respectively. Usher performed his No. 1 single from Raymond V Raymond, "OMG," on the 53rd GRAMMY telecast with Justin Bieber in 2011.

Buddy Guy, Living Proof (iTunes>)GRAMMY wins: 6Memorable GRAMMY gold: The influential blues guitarist picked up his sixth GRAMMY this year for Best Contemporary Blues Album for Living Proof, marking the fourth time he has won the award. Guy first won the award in 1991 for Damn Right, I've Got The Blues.

Whitney Houston, The Bodyguard —Original Soundtrack Album (iTunes>)GRAMMY wins: 6Memorable GRAMMY gold: Houston, whose untimely death came on the eve of the 54th Annual GRAMMY Awards on Feb. 11, made an impressive GRAMMY debut in 1985, garnering an Album Of The Year nomination for her self-titled debut, and winning Best Pop Vocal Performance, Female for "Saving All My Love For You." On the strength of the 1992 blockbuster film The Bodyguard, which she starred in, in 1993 Houston took home Album Of The Year honors for the film's soundtrack, and earned Record Of The Year for the heart-wrenching "I Will Always Love You." Houston was honored on the 54th GRAMMY telecast with a stirring performance of the song by GRAMMY winner Jennifer Hudson.

Blind Boys Of Alabama, Down In New Orleans (iTunes>)GRAMMY wins: 5Memorable GRAMMY gold: After a GRAMMY win in 2008 for Best Traditional Gospel Album for Down In New Orleans, the Blind Boys Of Alabama were honored with The Recording Academy's esteemed Lifetime Achievement Award in 2009.

Which African-American artists do you think made important contributions to popular music? Drop us a comment and let us know who your picks are.

André 3000, Prince, U2 among Record Store Day exclusives

Find out which GRAMMY winners and nominees will be offering limited-edition vinyl for 2017 Record Store Day, taking place April 22

GRAMMYs

May 15, 2017 - 2:36 am

GRAMMY.com

For hard-core vinyl collectors, it's Christmas in April. Record Store Day is set to celebrate its 10th anniversary on April 22 at indie record stores nationwide. A variety of "presents" in the form of exclusive, limited-edition vinyl will be released in conjunction with the holiday, with many GRAMMY winners and nominees represented.

André 3000 will offer a 7-inch vinyl single featuring his reinterpretation of the Beatles' "All Together Now." A posthumousDavid Bowie vinyl release will feature seven songs that were used to help him secure a record deal in 1971. Buddy Guy will release a 10-inch vinyl single featuring "Sick With Love" and "She Got It Together." U2 will issue a 12-inch vinyl single of "Red Hill Mining Town," a track from 1987's The Joshua Tree.

Pearl Jam will issue a 7-inch vinyl single for "State Of Love And Trust"/"Breath." Prince's exclusives include a 12-inch maxi single of "Sign 'O' The Times" and a 12-inch vinyl single of "Batdance." Madonnawill reissue Dance Mix, a 12-inch vinyl EP originally released in South America in 1985. Dolly Parton will release a 7-inch vinyl single of "Puppy Love"/"Girl Left Alone," which were originally released in 1959.

Miley Cyrus will issue her 2013 album, Bangerz, on double hot-pink vinyl. The Lumineeers will release the EP Song Seeds, while Siawill offer a 12-inch vinyl EP, Spotify Sessions. Notorious B.I.G.'s 1999 album, Born Again, will see a double-gold vinyl release. Sam Hunt will release "Drinkin' Too Much" as a 7-inch vinyl single.

Some of the content on this site expresses viewpoints and opinions that are not those of the Recording Academy. Responsibility for the accuracy of information provided in stories not written by or specifically prepared for the Academy lies with the story's original source or writer. Content on this site does not reflect an endorsement or recommendation of any artist or music by the Recording Academy.